Dinner for Schmucks is based on a French film but don’t hold that against it. Its similarities to Le Diner de Cons Francis Veber’s 1998 farce about a group of cynical publishing executives who host a weekly “dinner for idiots ” are primarily conceptual. To make it suitable for American audiences director Jay Roach (of Austin Powers and Meet the Parents fame) and screenwriters David Guion and Michael Handelman safely cleansed their big-budget adaptation of any smoking philandering “mean-spiritedness ” or any other icky behavior that might make some of us Yanks uncomfortable. Whew.
Preeminent straight man Paul Rudd (Role Models I Love You Man) plays Tim an ambitious young investment banker on the verge of joining the elite ranks at his firm. But in order to be fully inducted into the executive inner circle he must first participate in a peculiar ritual called the “Dinner for Winners ” a monthly event hosted by his boss Lance (Bruce Greenwood) to which each attendee is charged with bringing a high-functioning dimwit for the rest of the guests to ridicule. More than just a company tradition it’s an opportunity for high-climbers like Tim to prove their mettle in an area crucial to the success of stereotypically cutthroat businessmen: exhibiting callous disregard for those who exist on the fringes of society. Needless to say attendance at the dinner is not optional.
Tim believes he’s found the ideal dinner guest when he literally runs into Barry (Steve Carell) a clumsy bespectacled IRS employee whose great passion in life involves staging elaborate dioramas with taxidermic mice. Several of Barry’s exquisitely strange creations dubbed “mouseterpieces ” are depicted in the film’s opening sequence which proudly nods to the intricate quirk of Wes Anderson. (Its soundtrack even apes his musical tastes playing an obscure song from a legendary rock band: the Beatles’ Fool on the Hill a melancholy little number that cost a paltry $1.5 million to license.)
That’s where the comparisons to Anderson’s work end. As a director Roach’s greatest asset has always been his ability to assemble a group of talented comic actors and hand them the reigns trusting that they’ll produce enough funny material for him to sow together into a relatively cohesive piece. It’s what fueled Roach’s better works like the first Austin Powers flick and it’s ultimately what saves Dinner for Schmucks from falling victim to the director’s less admirable qualities namely a penchant for contrived and predictable situational humor an over-reliance on cheap physical and sight gags and a general disregard for plot and pacing.
Carell has carved a lucrative niche for himself playing charmingly oblivious goofballs of varying levels of competence and he earns every dime of his reported $15 million paycheck in this film. Rudd’s character for all his caustic wit isn’t nearly as manipulative or amoral as his French counterpart; we never truly believe him capable of deliberately humiliating an innocent like Barry even if he does drive a Porsche.
But they labor heroically to make the most of their suboptimal comedic circumstances forming an amiable intermittently hilarious odd-couple dynamic as Tim struggles to contain the chaos wrought by Barry. That combined with the efforts of Jemaine Clement and Zach Galifianakis both sublime in supporting roles are what ultimately what elevate the film above its meagre material. These are guys who could send us into hysterics reading a grocery list which in this case would constitute an upgrade over the Dinner for Schmucks screenplay.
In Norway Iowa (pop. 586) baseball is what you do by default—there apparently aren’t too many options. It is either baseball or gas-station get-togethers according to the (true) story in The Final Season. Set in 1991 the town’s high school baseball team the Tigers has amassed 19 State Championships in 22 years and it is the community’s heart and soul. So when a move is put in place to merge the team with another school’s for budgetary reasons the townsfolk are understandably outraged. As a nail in the coffin the team’s longtime coach Jim Van Scoyoc (Powers Boothe) is to be replaced by his much-younger and -less-experienced assistant Kent Stock (Sean Astin) for the final season. Suddenly everyone sours on their team and its chances of notching that 20th title. But what they don't know is that there is a diamond-in-the-rough catcher (Michael Angarano) who has just moved into town—as a punishment by his dad (Tom Arnold)—and that Stock is every bit as determined as Coach Van Scoyoc to continue Norway’s winning tradition. It initially takes some time for the players to warm up to their new coach but after a while… Oh you know the drill. The updated score in Sean Astin’s sports-movie career: football 1 baseball 0. The well-traveled actor can’t quite do for Season what he did for Rudy partly because this movie is cheesy beyond repair. But Astin who also executive-produced is by far the film’s biggest asset both on and off screen. He soldiers on as Coach Stock brimming with realistic enthusiasm and fortitude perhaps to spite the woeful script. Fellow veteran actor Boothe (Sin City) rounds out Season’s two bright spots as the pitch-perfect embodiment of a baseball sage who doesn’t waste words. But he and Astin don’t fit in this movie for reasons of authenticity or lack thereof on the others’ part. That includes onetime Next Big Thing Rachael Leigh Cook who plays Astin’s much-too-cutesy love interest; Tom Arnold striking out in a role that is (mercifully!) a near cameo; and Angarano (Sky High) who gives a performance that is heavy on cliché and light on realism. Like the movie itself. It’s hard to imagine even the youngest of viewers being able to resist sarcastic laughter throughout The Final Season—that’s just the degree of its corn. Almost everything is wrong here and the result is a nearly two-hour cliché whose transparency knows no age boundaries. Both director David M. Evans (The Sandlot of course) and writers Art D'Alessandro and James Grayford seem to only be concerned with concocting unnecessary melodrama. Most of the movie’s story for example is a highly fictionalized addendum to the less-cinematic true story on which it is based. And one scene early on serves as a microcosm of the director’s contrived efforts and forced cheese: After Angarano’s Mitch plunks his classmate/teammate with a Wiffle ball Evans cues music so heavy you’d think you were watching the climax of Mystic River. It’s utterly laughable and indicative of Evans’ many missteps. As for the baseball scenes they look sufficient when shown but Final Season is so much less a sports movie than it is the feel-good stuff of Disney TV movies—nay Disney cartoons.
Looney Tunes: Back in Action revisits an age-old Tunes question: Why does the affable Bugs reap all the fame and glory while the egocentric Daffy gets shafted again and again? Our duck friend quite frankly has had it up to his skinny neck playing second fiddle to the carrot muncher. All Daffy wants is a little recognition from the studio but the brothers Warner (actual twin brothers as we come to find out) decide instead to let Daffy out of his contract on the advice of their no-nonsense VP of comedy Kate Houghton (Jenna Elfman). Bugs however knows they're making a mistake. Even though Daff bears the brunt of the abuse Looney Tunes would fail without him and Bugs convinces the powers that be they need the nutty mallard. If the plot had only followed this thread--perhaps showing Daffy on the skids--then maybe the film wouldn't have spiraled into Looneyville. Unfortunately Daffy ends up hooking up with the hunky D.J. Drake (Brendan Fraser) a studio security guard who finds out that his famous movie star father Damian Drake (Timothy Dalton) is really a secret agent hunting for a mysterious diamond known as the Blue Monkey a supernatural gem that can turn the planet's population into monkeys. The evil head of the Acme Corporation Mr. Chairman (Steve Martin) wants the diamond for his own diabolical plans and he's kidnapped D.J.'s dad in an effort to get it. Now the gang has to get the diamond save D.J.'s dad and of course save the world.
It might be a little hard to act subtly around cartoon characters but these aren't your ordinary cutesy Mickey Mouse types. Bugs Daffy Porky Yosemite Sam and Foghorn Leghorn are pros at comic timing able to spar with the best of them throw out zingers without a second thought and slay you with a droll glance at the camera. It isn't really necessary for the human actors to match their madcap-ness; just reacting would have sufficed. Fraser comes off the best of the human bunch; since he's had practice (Monkeybone) he easily interacts with his animated co-stars and deftly handles the doubletakes and jabs at pop culture. Elfman on the other hand sputters and goes bug-eyed every time she encounters silliness. She looks uncomfortable doing the green screen thing especially when she's trying to look natural when peeling a distraught duck from around her waist. Martin's highly anticipated turn as Mr. Chairman turns out to be the biggest disappointment. The over-the-top character is reminiscent of Martin's hysterically funny Rupert the Monkeyboy in 1988's Dirty Rotten Scoundrels but Martin turns Mr. Chairman--an angry schoolboy with knee socks and matted-down hair who never grew up--into a caricature of ridiculous proportions and unlike Rupert who came in small hilarious doses Mr. Chairman gets very tiresome very quickly.
Back in Action's animation is well done more engaging and ambitious than its 1996 predecessor Space Jam in which the action mostly took place in Looney Tunes land; here animated characters go the Who Framed Roger Rabbit? route and Bugs Daffy and the rest coexist harmoniously with humans in the real world. But despite its aspirations Back in Action leaves out vital elements that made Space Jam appealing. While the earlier film stuck to a simple plot Back in Action guided by director Joe Dante (Small Soldiers The 'Burbs) tries too hard to keep things wild and wacky while incorporating elements of '60s heist pics and action-adventure scenes and in the process loses sight of the most important ingredient in any kids movie: the story. Tykes may have limited attention spans but if the story's good they will watch. Granted some individual bits are laugh-out-loud funny particularly the scene in the Warner Bros. commissary where a stuttering Porky Pig complains about being politically incorrect with Speedy Gonzales while an animated Shaggy and Scooby-Doo berate actor Matthew Lillard for playing Shaggy as such a bonehead in the live-action Scooby-Doo. These scenes prove that if any cartoon characters could pass themselves off as real celebrities in the entertainment industry the gang from Looney Tunes could but moments like these simply can't overcome a contrived plot and juvenile antics.
Loosely based on the (rather lame) 1960 Rat Pack film dashing understated-but-cool thief Danny Ocean (George Clooney) orchestrates the most sophisticated elaborate casino heist in history less than 24 hours after being released from jail. In one night Danny's handpicked 11-man crew of specialists--including an ace card sharp (Brad Pitt) a young-but-masterful pickpocket (Matt Damon) and a demolition genius (Don Cheadle)--will attempt to steal over $150 million from three Las Vegas casinos owned by Terry Benedict (Andy Garcia) the elegant ruthless entrepreneur who just happens to be dating Danny's ex-wife Tess (Julia Roberts). To score the cash Danny will have to risk his life and risk his chance of ever reconciling with Tess. But if all goes according to his intricate nearly impossible plan Danny won't have to choose between his stake in the heist and his high-stakes reunion with Tess. Or will he?
The star wattage in this movie could solve all of California's electricity problems in one fell swoop. George Clooney easily passes himself off as suave mastermind Danny Ocean playing the role with understated class and elegance. Brad Pitt takes a similar arc as Rusty though he's slightly more dispassionate and professional than Clooney's visionary Ocean. Matt Damon is convincing as the inexperienced-but-talented pickpocket who's essential to getting in the vault. And Julia is simply Julia--glamorous and charming a smart cookie who is being wooed by the evil ruthless (and anal-retentive) casino mogul so elegantly portrayed by Andy Garcia. Affecting a Cockney accent and attitude Don Cheadle's portrayal of the demolition expert is a tour de force. Carl Reiner is absolutely hilarious as Saul Bloom an aging old-timer who comes out of retirement to infiltrate the casino as a debonair arms dealer. Elliott Gould Bernie Mac Scott Caan and Casey Affleck round out the cast nicely with inspired performances especially Gould's and Mac's.
Soderbergh cemented his reputation last year as a director of serious weight when both Traffic and Erin Brockovich were nominated for the Best Film Academy Award and garnered him two Best Director nominations---an unprecedented feat. Ocean's Eleven marks Soderbergh's departure from the serious to the seriously fun. This is one of the most stylish most elegantly filmed movies I have ever seen. Not only are all the actors beautiful but so are the locations clothes and shot selections. The speed and pacing of the flick belie the movie's length; Soderbergh clearly had fun making this movie. He shot this film very intimately often allowing the camera to stay close on the actors a tad longer than expected which lets their personas shine through--thus their personalities draw you into the movie as much as the caper itself. It's not often you see a movie where the direction has as much wit and cleverness as the plot itself. Ocean's Eleven makes no pretense to be something other than a jaunty cheeky exhilarating heist movie. So while the plot's not too deep all is forgiven considering the level of acting and direction.